The group does not have to see the moderator or the artist who is being interviewed.

Their voices communicate so directly via the headphones that they become a soundscape for

the surrounding city.

The group walks behind them, but starts to linger more and

more. People walk in front, on the other side of the street, further down the street.

Forming and reforming their own constellation,

their own choreography.

Limited to several meters as the sound doesn’t reach too far.

6.

The walk, the talk, the interventions

raise a lot of questions concerning spectatorship, about seeing,

witnessing, responsibility.

In public space, seeing something seems to be much more about witnessing then about spectating. Also, when you recognize the artistic frame you ‘happen to see’ it. That makes us a witness; it appeals to us. How do we react? What is our own way of ‘acting’ in public space? What is our own ‘act’? What is our responsibility? These are a few of the general questions raised. It makes us aware again of being political creatures.

7.

The headphones add many layers to the experience of the surrounding world.

One becomes very aware of the multiple layers of sound, that are already and

always there, but because more layers are added, they seem amplified in a way. Not only the voices of the moderator and the interviewees can be heard, but also a soft background music. In addition, the sound of the city seeps through the headphones.

When we stand in some weird inbetween space beneath the square of the Národní Divadlo theatre complex, there are literary several layers of sound. From the square above, the road below, a woman singing somewhere, the music and voices in the headphone, etc.

Martijn Engelbregt

asks us to stand, close our eyes

and to listen to all the layers of sound.

There is not so much emphasis on what needs to be said anymore.

We become even more conscious of our surroundings and as a consequence, more part of it.